„Klasszikus” új művészet. A gipszminták szerepe a szocreálban

With the victory of the Hungarian Workers’ Party – the communist party – in Hungary in 1949 the “reform” of the institutions of tertiary education including the Academy of Fine Arts and Academy of Applied Arts took place, meaning their transformation upon Soviet models. In daily training, in teaching the techniques of drawing and painting, they returned to the copying of plaster casts, which had already been discarded by the free school of Simon Hollósy in Munich in the 1880s for the benefit of a naturalist approach. This principle was promoted further by the art colony of Nagybánya started in 1896, and it was the guideline when after 1920 the Academy of Fine Arts was reorganized. The traditional academic approach had its roots in J. J. Winckelmann’s Thoughts on the Imitation of Greek Works in Painting and Sculpture published in 1755, while the nature-centric thought of free schools could draw on J-J. Rousseau’s Émile, or on Education (1762). In the seething period of Soviet painting in the 1920s an increasingly strengthening current among the greatly diverse trends was the one announcing the slogan of “heroic realism”; it was represented primarily by the Society of Painters of Revolutionary Russia (AHRR). N. B. Terpsikhorov’s The first slogan was painted in 1924; it shows an artist painting the Leninian slogan All power to the soviets! on a red tapestry at the foot of the plaster replicas of the Venus of Milo and the Borghese gladiator. In addition to the guidance provided by Soviet advisers visiting Hungary in the 1950s, several Hungarian artists could study at Russian academies; they recalled that the basis for learning socialist realism was precise draughtsmanship and the requirement that a work be completed. The demand for high quality socialist realism weighed down upon the teachers with mature ideas socialized in earlier decades and often receiving the badge of “formalism” and on students having to interrupt their art studies for the world war as unattainable. Making copies – in painting and sculpture – was not only part of the training process, but also satisfied the demand of public institutions for representation: replicas of several famous Soviet works, including portraits of Lenin and Stalin were ordered for decoration in buildings, and the program of a museum for the state collection of copies was also deliberated

Magyar festészet - francia festészet, 1905-1914. (Magyar "neósok" és fauve-ok) = Hungarian art - French art, 1905-1914. (Hungarian "neos" and fauves)

A kutatás, a XX. századelő (1904-1914) európai és magyar művészetének egy mindeddig feldolgozatlan fejezetét tárta fel. Megvalósult a magyar "fauve képek" és a velük rokon francia művek felkutatása és összeírása, a magyar fauve festészet történetének feltárása és feldolgozása, valamint a kiállítások kronológiájának összeállítása, a párizsi művészeti iskolák, szalonok és kiállítások, a Párizsban lakó magyar művészek címeinek kiderítése, általában véve a francia festészet magyar vonatkozásainak feldolgozása, a francia- magyar művészeti kapcsolatrendszer feltérképezése. A kutatás eredményei, a francia hatásokat és a magyar műveket együttesen bemutató, "Magyar Vadak" c. kiállítás (Magyar Nemzeti Galéria, 2006. márc. 22.-júl. 30.) és a kiállítás katalógusában a kutatók által írt bevezető és az egyes művészek munkásságát értékelő tanulmányok megírásával, a kiállított művek bemutatásával és jegyzékével váltak hozzáférhetővé a szakma és a nagyközönség számára. A katalógus magyarul és angolul jelent meg, így a nemzetközi kutatók számára is hozzáférhetővé vált. Megvalósult, a kiválasztott időszak feldolgozott anyagának számítógépre vitele és a korszak francia-magyar művészeti kapcsolatait bemutató adatbázis kiépítése - kronológia, művészeti topográfia (kiállítási helyszínek, műtermek, művészeti iskolák, stb.). Elkészült egy 267 tételt tartalmazó műtárgylista, ill. egy, a fényképeket tartalmazó CD. 2006 szeptemberében került sor a Magyar Vadak-kal foglalkozó szakmai konferenciára is. | The research has opened a new, hitherto unknown chapter in art history of European and Hungarian art at the beginning of the 20th century. It has been successful not only in identifying, finding and registering Hungarian "Fauve" paintings and French ones related to them, but also in revealing and elaborating the history of Hungarian Fauve movement, in establishing the chronological order of its exhibitions, in detecting adresses of Paris art schools, saloons and exhibitions, and of Hungarian artists living in Paris, and also in revealing the complex relationship between French and Hungarian painting in general. The final outcome was the exhibition on Hungarian Fauve painting organized by the Hungarian National Gallery (22th of March - 30th of July, 2006). The scientific results of the research were summed up in the catalogue, in the introductory essays, in studies on individual artists and in the catalogue entries. It was published both in Hungarian and English, so accessible to wider international scientific forum. The collected documentative matherial has been digitalized, with a data basis on the French and Hungarian influences of the given period, containing chronoly, topography of places of exhibitions, studios, art schools etc. A list of art works containing 267 items with a photographic documentation on CD. In September 2006 a scientific conference on Hungarian Fauve painting has been organized

Half-life measurement of Ga-65 with gamma-spectroscopy

The literature half-life value of Ga-65 is based on only one experiment carried out more than 60 years ago and it has a relatively large uncertainty. In the present work this half-life is determined based on the counting of the gamma-rays following the beta-decay of Ga-65. Our new recommended half-life is t(1/2) = (15.133 +/- 0.028) min which is in agreement with the literature value but almost one order of magnitude more precise

Dynamic clamp with StdpC software

Dynamic clamp is a powerful method that allows the introduction of artificial electrical components into target cells to simulate ionic conductances and synaptic inputs. This method is based on a fast cycle of measuring the membrane potential of a cell, calculating the current of a desired simulated component using an appropriate model and injecting this current into the cell. Here we present a dynamic clamp protocol using free, fully integrated, open-source software (StdpC, for spike timing-dependent plasticity clamp). Use of this protocol does not require specialist hardware, costly commercial software, experience in real-time operating systems or a strong programming background. The software enables the configuration and operation of a wide range of complex and fully automated dynamic clamp experiments through an intuitive and powerful interface with a minimal initial lead time of a few hours. After initial configuration, experimental results can be generated within minutes of establishing cell recording

α-induced reactions on 115In: Cross section measurements and statistical model analysis

[Background] Alpha-nucleus optical potentials are basic ingredients of statistical model calculations used in nucleosynthesis simulations. While the nucleon+nucleus optical potential is fairly well known, for the alpha+nucleus optical potential several different parameter sets exist and large deviations, reaching sometimes even an order of magnitude, are found between the cross section predictions calculated using different parameter sets. [Purpose] A measurement of the radiative alpha-capture and the alpha-induced reaction cross sections on the nucleus 115In at low energies allows a stringent test of statistical model predictions. Since experimental data is scarce in this mass region, this measurement can be an important input to test the global applicability of alpha+nucleus optical model potentials and further ingredients of the statistical model. [Methods] The reaction cross sections were measured by means of the activation method. The produced activities were determined by off-line detection of the gamma-rays and characteristic x-rays emitted during the electron capture decay of the produced Sb isotopes. The 115In(alpha,gamma)119Sb and 115In(alpha,n)118Sbm reaction cross sections were measured between Ec.m. = 8.83 MeV - 15.58 MeV, and the 115In(alpha,n)118Sbg reaction was studied between Ec.m. = 11.10 MeV - 15.58 MeV. The theoretical analysis was performed within the statistical model